Michael Nordine authorSwitching gears from contemporary drama (“Funny Face,” “Dark Night”) to what Variety once dubbed “oaters,” Tim Sutton’s “The Last Son” finds fresh life in a well-worn genre: Its striking visuals are accompanied by an oddly appropriate score led by droning, heavily distorted guitars; its occasional narration is winsome in a way that Westerns do best; and its evocation of an endlessly mythologized era feels authentic.
But then Sutton goes and overplays his hand, the effects of which aren’t as disastrous as being caught cheating in a poker saloon, but they do leave you wondering what might have been.“The Last Son” opens with lyrical narration and airy background music courtesy of Phil Mossman that brings to mind “The.
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